Questões: Faculdade Cásper Líbero — com gabarito

Com base no texto e na tabela, podemos concluir que:

Vo é a velocidade inicial do corpo e g é a aceleração da gravidade. Essa expressão despreza a resistência do ar ou qualquer outra força atuante que desacelere o corpo, situação que o saltador experimentou nos primeiros instantes da queda, ainda bem distante de reentrar na troposfera. Aproximando g=10m/s2, podemos dizer que a velocidade máxima (lembre-se: 1m/s = 3,6km/h) atingida pelo austríaco, citada no texto acima, aconteceu:

A schematic summary would say as follows: At a founding time, romantic fiction saw the peculiarities of the Brazilian family life under the picturesque and the national identity signs, over which it laid some more or less feuilletonist fabling. The combination, in line with the needs of the young country, was very successful. Although irreverent, the emphasis on mirroring and its somewhat regressive accomplice character formed a positive sign on our particular traits. One generation later, Machado used in a different manner the same thematic, ideological, and aesthetic complexity, this time without the covering mists of local color and patriotic self-congratulation. The large Brazilian family was now observed from the point of view of the enlightened dependent, who was part of it and transformed it into a problem. This is a special system of relationships, with its own structure, resources and problems, which needed to be analyzed. Its difference was a sign of primitiveness, because the tacit measure of the dependent was the Rights of Man, which were effective, in principle, in other regions. The narrator’s fondness shifted to the heroine’s struggles against injustice, which was also portrayed in a feuilletonist fashion. As for the opposing side, it was inevitable that the conflict arrangement, as it developed from book to book, made more visible the negative traits of the landowner. These traits absorbed and reflected precisely, as a fault, the absurd lack of balance between the classes. Using the consequences of this very lack of balance, which gave no signs of internal regeneration, Machado invented the formula that would characterize his mature works and make him a great writer. He did not surrender to the easy delights of romantic picturesqueness. Likewise, he now renounced the unanimous fondness towards the moderate narrator and his good causes.

The new artistic device dealt indirectly with dependents’ frustrations and directly with their abandonment by landowners – the peripheral society incapable of integration resonated. The scope of the formal arrangement, which challenged the secular spirit’s superstitions, especially the trust in progress and in benevolence, is uncomfortable to this day. The insinuating personification of an elite narrator enviably civilized and deeply involved in oppressive relationships, which he arranges and judges himself, is a chess move that disarranges the narrative board, making the game more real. The process challenges readers in every line: it teaches them to think by themselves; to discuss not only the issues, but also their presentation; to consider the narrators and authorities – always the interested party – from a distance, even if they are eloquent; to doubt the civilizing and national commitment of the privileged, particularly in young countries, where this intention plays a major role; to feel an aversion to the imaginary consolations of romanticism, manipulated by the narrative authority to its own benefit. The process teaches, above all, that the combination of the cosmopolitan and the excluded spheres may be stable, without a feasible solution. This demonstration is a juicy one because it illustrates and examines the nation’s “delicious” mechanisms – to use the Machadian term – of the non-bourgeois reproduction of the bourgeois order. However, the demonstration is also universal to some extent, because globally, unlike what it seems, this reproduction is the rule, not the exception.

The heroines of the first novels are not very interesting because their precarious social status is distorted by the romantic cliché. Their vicissitudes, however, stress the antagonistic class traits, whose figure has literary originality. In the novels of the second phase, once the angle is inverted, it is the poor who appear in the subjective mirror of owners, where the prisms are either that of bourgeois individualism or of paternalistic domination, according to the selfish convenience impudence. The dependent becomes extraordinarily relevant in that light. They are portraits of the powerless that get no recognition for the value of work, no rights protected, and no compensation by divine providence. It is the social vacuum generated by modern slavery to freedom without possessions, another issue that, mutatis mutandis, lives on.

In the same line of advanced resonance of the primitiveness, notice how the extra bourgeois aspect of local issues works, and also the narrative relationship itself: at times it is only a shift in the rule; at times it is a movement in its own right, which escapes the dominating definitions and discovers unknown land. To give an idea, compare the part of authority in the definition and dissolution of characters, themselves or others; the relationships between personal separation and the experience of time, between command and insanity – often by the ones in charge; the extra scientific dimensions of science, with its authoritarian and sadistic roles; the overall difference that generates a point of view, etc. In this manner, Machadian fiction and the advanced literature of his time converged – both tried to release other realities under the bourgeois reality. As a mere indication, it is worth mentioning a few similarities, rather at random, in the innovative field, such as Dostoievski, Baudelaire, Henry James, Tchekov, Proust, Kafka, and Borges. Machado’s classical derivations are countless and have led critics to find his merit there, which hinders the understanding of the up-todateness and advanced character of his experimentation. 

A schematic summary would say as follows: At a founding time, romantic fiction saw the peculiarities of the Brazilian family life under the picturesque and the national identity signs, over which it laid some more or less feuilletonist fabling. The combination, in line with the needs of the young country, was very successful. Although irreverent, the emphasis on mirroring and its somewhat regressive accomplice character formed a positive sign on our particular traits. One generation later, Machado used in a different manner the same thematic, ideological, and aesthetic complexity, this time without the covering mists of local color and patriotic self-congratulation. The large Brazilian family was now observed from the point of view of the enlightened dependent, who was part of it and transformed it into a problem. This is a special system of relationships, with its own structure, resources and problems, which needed to be analyzed. Its difference was a sign of primitiveness, because the tacit measure of the dependent was the Rights of Man, which were effective, in principle, in other regions. The narrator’s fondness shifted to the heroine’s struggles against injustice, which was also portrayed in a feuilletonist fashion. As for the opposing side, it was inevitable that the conflict arrangement, as it developed from book to book, made more visible the negative traits of the landowner. These traits absorbed and reflected precisely, as a fault, the absurd lack of balance between the classes. Using the consequences of this very lack of balance, which gave no signs of internal regeneration, Machado invented the formula that would characterize his mature works and make him a great writer. He did not surrender to the easy delights of romantic picturesqueness. Likewise, he now renounced the unanimous fondness towards the moderate narrator and his good causes.

The new artistic device dealt indirectly with dependents’ frustrations and directly with their abandonment by landowners – the peripheral society incapable of integration resonated. The scope of the formal arrangement, which challenged the secular spirit’s superstitions, especially the trust in progress and in benevolence, is uncomfortable to this day. The insinuating personification of an elite narrator enviably civilized and deeply involved in oppressive relationships, which he arranges and judges himself, is a chess move that disarranges the narrative board, making the game more real. The process challenges readers in every line: it teaches them to think by themselves; to discuss not only the issues, but also their presentation; to consider the narrators and authorities – always the interested party – from a distance, even if they are eloquent; to doubt the civilizing and national commitment of the privileged, particularly in young countries, where this intention plays a major role; to feel an aversion to the imaginary consolations of romanticism, manipulated by the narrative authority to its own benefit. The process teaches, above all, that the combination of the cosmopolitan and the excluded spheres may be stable, without a feasible solution. This demonstration is a juicy one because it illustrates and examines the nation’s “delicious” mechanisms – to use the Machadian term – of the non-bourgeois reproduction of the bourgeois order. However, the demonstration is also universal to some extent, because globally, unlike what it seems, this reproduction is the rule, not the exception.

The heroines of the first novels are not very interesting because their precarious social status is distorted by the romantic cliché. Their vicissitudes, however, stress the antagonistic class traits, whose figure has literary originality. In the novels of the second phase, once the angle is inverted, it is the poor who appear in the subjective mirror of owners, where the prisms are either that of bourgeois individualism or of paternalistic domination, according to the selfish convenience impudence. The dependent becomes extraordinarily relevant in that light. They are portraits of the powerless that get no recognition for the value of work, no rights protected, and no compensation by divine providence. It is the social vacuum generated by modern slavery to freedom without possessions, another issue that, mutatis mutandis, lives on.

In the same line of advanced resonance of the primitiveness, notice how the extra bourgeois aspect of local issues works, and also the narrative relationship itself: at times it is only a shift in the rule; at times it is a movement in its own right, which escapes the dominating definitions and discovers unknown land. To give an idea, compare the part of authority in the definition and dissolution of characters, themselves or others; the relationships between personal separation and the experience of time, between command and insanity – often by the ones in charge; the extra scientific dimensions of science, with its authoritarian and sadistic roles; the overall difference that generates a point of view, etc. In this manner, Machadian fiction and the advanced literature of his time converged – both tried to release other realities under the bourgeois reality. As a mere indication, it is worth mentioning a few similarities, rather at random, in the innovative field, such as Dostoievski, Baudelaire, Henry James, Tchekov, Proust, Kafka, and Borges. Machado’s classical derivations are countless and have led critics to find his merit there, which hinders the understanding of the up-todateness and advanced character of his experimentation. 

A schematic summary would say as follows: At a founding time, romantic fiction saw the peculiarities of the Brazilian family life under the picturesque and the national identity signs, over which it laid some more or less feuilletonist fabling. The combination, in line with the needs of the young country, was very successful. Although irreverent, the emphasis on mirroring and its somewhat regressive accomplice character formed a positive sign on our particular traits. One generation later, Machado used in a different manner the same thematic, ideological, and aesthetic complexity, this time without the covering mists of local color and patriotic self-congratulation. The large Brazilian family was now observed from the point of view of the enlightened dependent, who was part of it and transformed it into a problem. This is a special system of relationships, with its own structure, resources and problems, which needed to be analyzed. Its difference was a sign of primitiveness, because the tacit measure of the dependent was the Rights of Man, which were effective, in principle, in other regions. The narrator’s fondness shifted to the heroine’s struggles against injustice, which was also portrayed in a feuilletonist fashion. As for the opposing side, it was inevitable that the conflict arrangement, as it developed from book to book, made more visible the negative traits of the landowner. These traits absorbed and reflected precisely, as a fault, the absurd lack of balance between the classes. Using the consequences of this very lack of balance, which gave no signs of internal regeneration, Machado invented the formula that would characterize his mature works and make him a great writer. He did not surrender to the easy delights of romantic picturesqueness. Likewise, he now renounced the unanimous fondness towards the moderate narrator and his good causes.

The new artistic device dealt indirectly with dependents’ frustrations and directly with their abandonment by landowners – the peripheral society incapable of integration resonated. The scope of the formal arrangement, which challenged the secular spirit’s superstitions, especially the trust in progress and in benevolence, is uncomfortable to this day. The insinuating personification of an elite narrator enviably civilized and deeply involved in oppressive relationships, which he arranges and judges himself, is a chess move that disarranges the narrative board, making the game more real. The process challenges readers in every line: it teaches them to think by themselves; to discuss not only the issues, but also their presentation; to consider the narrators and authorities – always the interested party – from a distance, even if they are eloquent; to doubt the civilizing and national commitment of the privileged, particularly in young countries, where this intention plays a major role; to feel an aversion to the imaginary consolations of romanticism, manipulated by the narrative authority to its own benefit. The process teaches, above all, that the combination of the cosmopolitan and the excluded spheres may be stable, without a feasible solution. This demonstration is a juicy one because it illustrates and examines the nation’s “delicious” mechanisms – to use the Machadian term – of the non-bourgeois reproduction of the bourgeois order. However, the demonstration is also universal to some extent, because globally, unlike what it seems, this reproduction is the rule, not the exception.

The heroines of the first novels are not very interesting because their precarious social status is distorted by the romantic cliché. Their vicissitudes, however, stress the antagonistic class traits, whose figure has literary originality. In the novels of the second phase, once the angle is inverted, it is the poor who appear in the subjective mirror of owners, where the prisms are either that of bourgeois individualism or of paternalistic domination, according to the selfish convenience impudence. The dependent becomes extraordinarily relevant in that light. They are portraits of the powerless that get no recognition for the value of work, no rights protected, and no compensation by divine providence. It is the social vacuum generated by modern slavery to freedom without possessions, another issue that, mutatis mutandis, lives on.

In the same line of advanced resonance of the primitiveness, notice how the extra bourgeois aspect of local issues works, and also the narrative relationship itself: at times it is only a shift in the rule; at times it is a movement in its own right, which escapes the dominating definitions and discovers unknown land. To give an idea, compare the part of authority in the definition and dissolution of characters, themselves or others; the relationships between personal separation and the experience of time, between command and insanity – often by the ones in charge; the extra scientific dimensions of science, with its authoritarian and sadistic roles; the overall difference that generates a point of view, etc. In this manner, Machadian fiction and the advanced literature of his time converged – both tried to release other realities under the bourgeois reality. As a mere indication, it is worth mentioning a few similarities, rather at random, in the innovative field, such as Dostoievski, Baudelaire, Henry James, Tchekov, Proust, Kafka, and Borges. Machado’s classical derivations are countless and have led critics to find his merit there, which hinders the understanding of the up-todateness and advanced character of his experimentation. 

“Nem uazekele kié-uazeka kiambote, nem nada, era só assim a outra maneira civilizada como ele dizia; mas também depois ficava na boa conversa de patrícios e, então, aí o quimbundo já podia se assentar no meio de todas as palavras, ele até queria, porque para falar bem-bem português não podia, o exame da terceira é que estava lhe tirar agora e por isso não aceitava falar um português de toda a gente, só queria falar o mais superior.”

“A poesia fugiu dos livros, agora está nos jornais.

Os telegramas de Moscou repetem Homero.

Mas Homero é velho. Os telegramas cantam um mundo novo

que nós, na escuridão, ignorávamos.”

“E era para mim um poema esse rol de reis leoninos, agora despojados da vontade sanhuda e só representados na poesia. Não pelos cilindros de ouro e pedras, postos sobre as reais comas riçadas, nem pelas alargadas barbas, entremeadas de fios de ouro. Só, só por causa dos nomes.

Sim, que, à parte o sentido prisco, valia o ileso gume do vocábulo pouco visto e menos ainda ouvido, raramente usado, melhor fora se jamais usado. Porque, diante de um gravatá, selva moldada em jarro jônico, dizer-se apenas drimirim ou amormeuzinho é justo; e, ao descobrir, no meio da mata, um angelim que atira para cima cinqüenta metros de tronco e fronde, quem não terá ímpeto de criar um vocativo absurdo e bradá-lo – Ó colossialidade! – na direção da altura?

E não é sem assim que as palavras têm canto e plumagem.”